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C I'M  TED  - BY 


SffiEHlt 





BOSTON 


PVBL1SHRR.S 


W^Si4j 


Half  Hours  with  the  Best  Composers 


The  phenomenal  success  of  “Famous  Composers  and  Their  Works”  has 
encouraged  the  publishers  to  announce  immediately  a new  publication,  which  will 
serve  as  a companion  work,  entitled  Half  Hours  with  the  Best  Composers. 

Its  purpose  is  to  place  in  the  hands  of  subscribers  an  ample  library  of  music 
at  a cost  of  less  than  one  cent  a page. 

THIRTY  LEADING  AMERICAN  COMPOSERS 

have  been  selected  to  write  the  opening  numbers  for  the  thirty  parts,  each  of  which 
will  also  contain,  as  a frontispiece,  a portrait  of  the  composer,  followed  by  a brief 
biography  and  a list  of  his  principal  compositions. 

These  American  compositions  will  be  written  expressly  for  this  work,  and 

will  be 

COPYRIGHTED  BY  US. 

They  will  average  in  length  about  eight  pages,  following  which,  in  each  Part,  there 
will  be  about  forty  pages  of  foreign  music  selected  with  special  reference  to 
profitable  entertainment,  and  requiring  for  its  performance  but  moderate  technical 
skill.  The  best  that  has  been  written  by 

THE  BEST  COMPOSERS  IN  ALL  COUNTRIES 

will  be  included.  None  of  the  compositions  in  “Famous  Composers”  will  be 
duplicated. 

The  price  of  any  copyrighted  American  composition  such  as  will  be  accepted 
for  this  work  would  cost,  if  bought  as  sheet  music,  from  io  cents  to  25  cents  a page, 
whereas  each  Part  of  Half  Hours  with  the  Best  Composers , containing  an  Ameri- 
can composition  and  about  40  additional  pages  selected  from  the  best  music  in  the 
world  and  4 pages  of  text,  costs  50  cents,  or 

LESS  THAN  ONE  CENT  A PAGE. 

The  collection  will  be  edited  by  Mr.  Karl  Klauser,  one  of  the  editors  of 
“ Famous  Composers,”  who  is  well  known  throughout  the  country  as  an  editor  of 
many  years’  experience,  and  one  who  is  in  sympathy  with  all  schools  of  music. 

The  work  will  be  published  exclusively  by  subscription  and  in  serial  form. 
It  will  be  complete  in  thirty  Parts  at  fifty  cents  each,  issued  semi-monthly.  No 
subscription  will  be  received  for  less  than  the  entire  work.  For  further  particulars 
apply  to 


J.  B.  MILLET  CO.,  Publishers,  Boston,  Mass. 


Of  \U.  Hj 
, ■>■■■  ■ - '■  : 

; v<  v 

Digitized  by  the  Internet  Archive 


in  2015 


https://archive.org/details/halfhourswithbes07klau_0 


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ARTHUR  BIRD 


RTHUR  BIRD  was  born  July  23, 
1856,  at  Mount  Auburn,  Cam- 
bridge, Mass.  His  father,  Horace 
Bird,  was  a well-known  musician 
in  the  neighborhood  of  Boston, 
where  his  singing  schools  were  very  popular. 

Bird  received  his  education  at  the  public  schools, 
graduating  at  the  high  school  in  Watertown  when 
seventeen  years  of  age.  During  his  childhood  and 
youth  he  displayed  a great  fondness  for  music,  and 
early  became  a proficient  player  on  the  piano  and 
organ,  and  incidentally  upon  the  violin.  He  first 
appeared  in  public  as  church  organist,  when  at 
fifteen  years  of  age  he  played  at  several  churches 
in  the  vicinity  of  Boston.  As  a youth,  his  talent 
showed  itself  not  so  much  in  his  ability  as  a per- 
former, as  in  his  marked  talent  for  improvisa- 
tion. 

After  studying  two  years,  1875  and  1876,  in 
Berlin  with  Ed.  Rohde,  Prof.  Haupt,  and  Prof. 
Loeschhorn,  he  returned  to  Boston  and  accepted 
the  position  of  organist  and  choir  master  at  the  Kirk, 
Halifax,  N.  S.  At  the  same  time  he  was  appointed 
head  instructor  of  the  piano  in  the  Young  Ladies’ 
Seminary  at  Mount  St.  Vincent  in  the  latter  city. 

In  the  summer  of  1881,  returning  again  to  Berlin, 
he  studied  four  years  with  Prof.  Haupt,  organ,  Prof. 
Loeschhorn,  piano,  and  Prof.  Urban,  composition 
and  orchestration. 

The  summers  of  1885  and  1886  he  spent  pro- 
fessionally and  socially  with  Franz  Liszt  in  Weimar, 
not  only  at  the  class  lessons  but  also  at  the  very 
exclusive  rubber  at  whist,  which  invariably  followed 
each  lesson.  Liszt  was  particularly  interested  in 
his  compositions,  and  had  them  often  played  at 


the  private  soirees  given  at  his  house  during  the 
summer  months. 

In  1886,  Bird  gave  a public  concert  of  his  com- 
positions, symphony,  overture  and  suite,  in  Berlin 
with  the  Philharmonic  Orchestra.  The  Berlin 
critics  were  unanimous  in  their  praise,  and  the 
artistic  success  of  an  American  composer  was 
especially  interesting,  for  until  then  Germany,  with 
Berlin  as  its  musical  centre,  had  not  considered 
young  America  capable  of  producing  much  of  any- 
thing beyond  very  clever  business  men. 

In  the  summer  of  t886  his  Carnival  Scene  for 
orchestra  was  played  at  the  Allegemeine  Deutsche 
musical  festival  in  Sondershausen,  of  which  Franz 
Liszt  was  president,  and  met  with  spontaneous 
success.  Liszt  was  especially  delighted  with  the 
work,  and  not  only  publicly  congratulated  the 
composer  at  the  concert,  but  wrote  him  imme- 
diately afterward  concerning  a four  and  eight  hand 
arrangement. 

In  July  of  the  same  year  Bird  conducted,  by 
invitation  of  the  directors  of  the  North  American 
Sangerbund  in  Milwaukee,  his  second  orchestra 
suite.  Bird  is  at  present  living  in  Berlin,  Germany. 

His  principal  published  works  are  : — 

Symphony  in  A 7najor ; three  suites  for  grand 
orchestra ; two  suites  for  strings ; Serenade  for  ten 
wind  instruments  ; Carnival  Scene  for  grand  or- 
chestra ; two  Episodes  for  grand  orchestra  ; Intro- 
duction and  Fugue  for  orchestra ; two  Oriental 
scenes  for  flute  and  orchestra ; grand  romantic 
and  fantastic  ballet,  Rubezahl. 

In  addition  to  the  above  he  has  written  a great 
number  of  larger  and  smaller  piano  works  for  two 
and  four  hands. 


pi  4 r7»t> 


Albumblatt. 


317 


ARTHUR  BIRD, 

Andante  cantabile.  Op. 35.N91. 


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EDITOR’S  NOTE  ON  HAYDN’S  “GRAVE  E CANTABILE” 

This  composition  was  written  by  Joseph  Haydn  in  the  year  1785,  and  forms  one  of  a group  of 
seven  Adagios,  written  for  the  church  service  upon  the  Saviour’s  Last  Words.  Haydn  writes  about 
it  in  1801  as  follows: 

“ About  fifteen  years  ago  I was  requested  by  a high  ecclesiastic  in  Cadiz  to  write  an  instrumen- 
tal composition  on  the  seven  words  spoken  by  the  Saviour  upon  the  cross.  It  was  customary 
during  Lent  to  perform  an  oratorio  in  the  cathedral,  the  effect  of  which  was  greatly  enhanced  by  the 
following  auxiliaries.  The  walls,  windows,  and  pillars  of  the  church  were  draped  with  black  cloth, 
and  but  one  central  lamp  lit  up  the  mysterious  darkness.  At  noon  all  the  doors  were  closed  and 
after  a suitable  musical  prelude  the  bishop  ascended  the  pulpit  and  spoke  one  of  the  seven  words 
drawing  a lesson  from  it.  Then  he  descended  and  knelt  before  the  altar  in  silence  during  which  the 
music  was  resumed.  This  ceremony  was  repeated  for  each  of  the  seven  words,  the  orchestra  alter- 
nating with  each  discourse.  It  was  no  easy  task  to  write  for  this  service  seven  Adagios,  each  of  ten 
minutes’  duration,  without  wearying  the  congregation.” 

To  this  instrumental  composition  Haydn  added  in  later  years  vocal  parts,  and  enriched  the 
orchestration.  It  is  interesting  to  trace  in  some  phrases  of  the  accompanying  selection  a foreshad- 
owing of  the  famous  Austrian  Hymn. 


Grave  e Cantabile. 

from  the  Saviour’s  Last  Words. 


345 


JOSEPH  HAYDN. 


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FAMOUS  COMPOSERS 

AND  THEIR  WORKS 


JOHN  KNOWLES  PAINE 

EDITOR 

THEODORE  THOMAS 

Editor  of  Musical  Selections 


KARL  KLAUSER 


Editor  of  Illustrations 


• 

Clarence  J.  Blake 
Mrs.  Ole  Bull 
Charles  L.  Capen 
John  S.  Dwight 
Louis  C.  Elson 


LIST  OP  ©O/HTRIBUTORS 

AMERICA 


Henry  T.  Finck 
John  Fiske 
Arthur  Foote 
Philip  Hale 
William  J.  Henderson 


Louis  Kelterborn 
Henry  E.  Krehbiel 
Leo  R.  Lewis 
W.  S.  B.  Mathews 
John  K.  Paine 


Martin  Roeder 
Howard  M.  Ticknor 
John  Towers 
George  P.  Upton 
Benj.  E.  'Woolf 


ENGLAND 


GERMANY 


FRANCE 


Edward  Dannreuther  Wilhelm  Langhans  Oscar  Comettant 

Mrs.  Julian  Marshall  Philipp  Spitta  Adolphe  Jullien 

W.  S.  Rockstro  Arthur  Pougin 


The  plan  and  purpose  of  this  work  is  threefold : — 

FIRST.  — To  give  concise  and  authentic  biographies  of  the  famous  composers  whose  works  are  already  familiar  to  the  world. 

SECOND. — -To  give  descriptions  of  the  works  of  these  composers  from  which  maybe  formed  an  intelligent  estimate  of  their  genius,  their 
influence  on  each  other,  and  their  position  in  musical  history. 

THIRD.  — To  give  a series  of  essays  on  the  development  and  cultivation  of  the  principal  forms  of  musical  art  in  Italy,  Germany,  France, 
England,  America,  and  other  countries. 

SCOPE  OF  THE  WORK 

It  is  believed  that  this  book  will  make  for  itself  a place  in  standard  literature.  Voluminous  dictionaries  of  biography  give  brief  statistical 
accounts  of  the  lives  of  several  thousand  composers,  in  whom  the  general  public  have  no  especial  interest.  Complete  memoirs  of  individual  lives 
lack  the  conciseness  necessary  to  a comprehensive  survey  of  the  entire  field  and  are  not  easily  accessible  to  the  general  reader.  This  work  will 
contain  seventy  biographies  selected  for  their  relative  importance  and  general  interest;  taken  in  connection  with  the  essays,  they  cannot  fail  to 
educate  the  taste  of  the  reader  to  a better  appreciation  of  the  works  of  the  masters. 

MUSICAL  ALBUM 

The  essays  will  be  illustrated  by  a judicious  selection  from  the  works  of  each  composer  edited  by  the  eminent  orchestral  leader,  Theodore 
Thomas,  assisted  by  Karl  Klauser  and  Arthur  Mees.  This  music  arranged  for  the  pianoforte  will  be  handsomely  printed  from  engraved  plates, 
made  specially  for  this  work,  and  will  include  both  vocal  and  instrumental  selections. 

While  thus  serving  its  primary  purpose  by  giving  representative  examples  from  the  works  of  each  master,  it  may  also  be  used  at  the  piano  as  a 
musical  album  containing  480  pages.  Such  a collection  made  by  Mr.  Thomas  will  have  an  educational  value  in  forming  the  taste  and  judgment  of 
the  musical  student. 

ILLUSTRATIONS 

The  biographies  will  be  fully  illustrated  by  authentic  portraits  and  fine  reproductions  of  photographs,  engravings,  and  paintings  of  historical 
scenes  relating  to  the  personal  history  of  each  composer. 

To  obtain  this  collection  the  publishers  have  sent  a special  representative  for  the  express  purpose  of  searching  the  museums,  public  libraries,  and 
private  collections  of  Europe.  The  cities  of  London,  Paris,  Berlin,  Leipsic,  Dresden,  Vienna,  Florence,  and  Rome  have  all  contributed  to  this  mass 
of  material  which  has  never  before  been  brought  together. 

This  unique  collection  has  been  carefully  edited  by  Karl  Klauser,  whose  special  knowledge  on  this  subject  has  enabled  him  to  contribute  many 
interesting  notes  on  the  illustrations. 

CONDITIONS  OF  PUBLICATION 

The  work  will  be  published  exclusively  by  subscription  and  in  serial  form.  It  will  be  complete  in  thirty  parts  at  fifty  cents  each,  issued  semi- 
monthly. No  subscription  will  be  received  for  less  than  the  entire  work. 


J.  B.  MILLET  COMPANY,  Publishers,  Boston,  Mass. 


COPYRIGHT,  1891,  BY  J.  B.  MILLET  COMPANY,  BOSTON,  MASS. 


Oliver  Ditson  Company  Edition 

AMERICAN  COMPOSERS 

Jules  Jordan  * 


A SONG  OF  DAVID 

(SCENA) 

Andante  sostenuto.  JULES  JORDAN.  Price  75  cents 

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O,  Saul,  our  king,  thy  peo  - pie  still  are  near  thee, 
O Hoi  So. -ill.'  ton  pew -pie  te  re-pe  te, 


mp  chords  in  arpeggio. 
£2 » •- 


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God, in  His  love,  thy  faith  and  strength  would  prove. 

Le  Dieu  des  Hois  veut  k prou  -ver  ta  foi ; 

4 ,4 j ^ , ^ fN 


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I FEEL  THY  PRESENCE  EVER 

WM.  R.  CHAPMAN.  Price  35  cents 


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I feel 
Here  in 


thy  pres  - ence 
my  soul  thou 


l i i % l i l % I 


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er ; Thy  spir  - it  dwells  with  me ; 
est;!Tis  love  thatholds  thee  there; 

2 - I'"  _ ''L  5 ''  0 - m- 


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WHISPER  LOW 

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IV m.  R.  Chapman 

HOW  COULD  I TELL 

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1.  How  could  I tell, skies  would  be  gray, When  you, dear  heart, had 

2.  When  you  were  here,  a gold-  enray  Of  joy-oussum-mer 


gone  a -way?  How  could  I know  the  sum  - mer  sun  Was 
lit  my  way;  Now  you  with  love  and  life  are  done;  The 


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THE  SINGING  IN  GOD’S  ACRE 

JULES  JORDAN.  Price  35  cents 

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te? 


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moon  - light,  Where-in  God’s  a - ere  lies, 


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Copyright,  mdcccxcii,  by  Oliver  Ditson  Company. 

SLEEP  ON  IN  PUREST  SLEEP’S  DELIGHT 

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Allegretto  con  moto. 

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